Some obvious bangers aside, Post Maloneβs third album is a repetitive snooze fest thatβs dragged down by mopey misogyny.
Post Malone wants you to know that he doesnβt trust anyone.
He spends his days drinking in his Lamborghini and avoids old friends that ask if their mums can get a ticket to his show. He fights with his girlfriend but buys her necklaces occasionally to appease her. He denounces all those who discredited him before he found wealth, and flaunts his designer garments with little humility.
If all this sounds clichΓ© and depressing, itβs because it is. Post Maloneβs βHollywoodβs Bleedingβ is disappointingly safe and formulaic, covering ground that heβs already extensively explored in both of his previous albums without saying anything new.
Instrumentally itβs exactly what youβd expect β acoustic guitars, atmospheric reverb, smooth vocal deliveries and basic trap drums. Itβs purposefully dark in tone, and thus the end result just isnβt much fun. Thereβs only so long anyone can be interested in a white rich dude either bragging about fame or moping about relationships. By the seventeenth track it wears thin and I was desperate for one song that wasnβt about girls, cars, or Postβs own ego.
Overlong and bloated, most of βHollywoodβs Bleedingβ is easy but unambitious listening. Itβs fine, I guess, but that lightning energy that was present on the smash hit βSunflowerβ isnβt really here, and far too much of it is focused on wealth and discrediting women.
Immune to the critical consensus
Itβs worth remembering that Post Malone has never really been a hit with music critics or publications in general, yet continues to be one of the most commercially successful artists of his generation. Reviewing his work feels a little redundant because itβll rise to the top of the charts for months on end, regardless of what any nerdy keyboard hipsters such as myself have to say.
Itβs easy to see why he does so well, too. Postβs vocals are well produced and clean throughout this LP, drenched in reverb and crafted to take centre stage in every track. Deep, guttural drums and basic guitar chords keep things afloat pleasantly enough, and on occasion this setup works really well β βEnemiesβ, βCirclesβ, βDie For Meβ, and βTake What You Wantβ are likely to be smash hits in the future.